The Atlantic was kind enough to run a lightly edited version of this post. I’m posting here after their publication so that this remains in my archives.
Pharrell Williams is a happy man, but he’s crying. He’s one of the most in-demand record producers in the world, and had a hand in the two hottest songs of 2013, “Get Lucky” by Daft Punk and “Blurred Lines” by Robin Thicke. While those songs were inescapable on radio and television last summer, Pharrell’s most recent hit, “Happy”, has taken a different path to prominence.
French director Yoann Lemoine and production team We Are From LA worked with Pharrell to create a unique video for “Happy”. The video is 24 hours long, and was shot all across Los Angeles, featuring dozens of celebrity cameos interspersed amongst shot after shot of people dancing happily. It took 11 days to shoot the video, though many of the shots were single takes. The video follows the course of the day in LA, with footage from dawn to dusk and through the night, with Pharrell appearing each hour.
The original “Happy” video
The video quickly spawned thousands of fan remakes, featuring workplaces, business schools, college dorms who are all happy. Faced with a viral hit, Pharrell’s label, Columbia Records/Sony Music, has turned a blind eye to possible copyright violations, and one can easily spend hours on YouTube flipping from one fanvid to the next.
There’s a special subcategory of these videos that I think of as “georemixes”. The georemix builds on the idea that the original “Happy” video is a love letter to Los Angeles, a portrait of the city’s architecture, landscapes, people and spirit, and moves the party to a new location. More than a thousand georemixes of “Happy” exist, and they portray happy people on all six continents.
Pharrell, on Oprah, crying over “Happy”
Pharrell is on Oprah, watching a compilation of these remixes that bring his song around the world, from Detroit to Dakar. In the 30 seconds of the video Oprah shows, we catch glimpses of happy Taiwanese women on a spa day, Icelanders dancing on a glacier and Londoners strutting with Big Ben in the background. Pharrell’s reaction is the one many of us have had to the remixes of his video: he cries for a long time, overwhelmed not only by his success but by the experience of watching a simple idea – film yourself being happy – as it spreads around the world.
“Happy” is not the first video that’s been georemixed. Last summer, I gave a talk at the MIT8 conference focused on remixes of PSY’s Gangnam Style and Baauer’s Harlem Shake. In researching these localized remixes, my students pointed me to Jay-Z and Alicia Keys’s “Empire State of Mind”, remixed in remarkable fashion into “Newport State of Mind”, by comics M-J Delaney, Alex Warren and Terema Wainwright. (The parody was further parodied by Welsh rappers Goldie Looking Chain, who complained that the Newport parodiers lacked local knowledge and cred.)
The original “Empire State of Mind”
“Newport (Ymerodraeth State of Mind)”
The georemix dates back at least as early as 2005, when Lazy Sunday, produced by The Lonely Island (Saturday Night Live’s Chris Parnell and Andy Samberg) was remixed into parodies like Lazy Muncie, showing midwest pride, and Lazy Ramadi, which replaces a search for cupcakes with a confrontation with Iraqi insurgents.
The Lazy Sunday georemix was born out of a mock East Coast/West Coast rap beef, which quickly set the tone for georemix videos. Each response is a retelling of the core story, transposed to a new location, bragging about local landmarks and habits. While the braggadocio in these remixes is pure parody, there’s a sense in which each of these videos makes a claim to share the stage with the original. YouTube’s related videos feature means that there’s a chance that some of the 2 billion viewers of PSY’s Gangnam Style video will encounter Zigi’s “Ghana Style”, a georemix that relocates Seoul to Accra and replaces PSY’s horse dance with Ghanaian Azonto. (And if not through YouTube, viewers may encounter Zigi through the hundreds of listicles that advertise “10 Best Gangnam Style Parodies”)
Zigi’s Azonto version of Gangnam Style
I think of the georemix as a claim to attention, a way of demanding part of the spotlight that shines on a popular video. It’s a very basic demand: accept that we’re part of this phenomenon, too. In remixing Gangnam Style, Zigi sends the message that Ghana has YouTube, is clued into global cultural trends, has its own distinct sound and dance style to share with the world, and can produce videos as technically proficient as anything coming from other corners of the world. To me, “Ghana Style” reads both as lighthearted celebration of a catchy tune that truly went global, and a political statement about a world where culture can spread from South Korea to Ghana to the US, not just from the US and Europe to the rest of the world.
Of course, the georemix can also be purely political. Ai Wei Wei’s Gangnam style, titled Grass Mud Horse Style, moves the dance into his studio in Beijing and is filmed almost entirely within the walls of that compound, alluding perhaps to the artist’s frequent arrests and detentions. (If the location doesn’t set the theme, his appearance a minute into the video, spinning handcuffs certainly does.) Other georemixes take on specific issues explicitly. Consider Dig Grave Style, a protest video made by students from China’s Henan province, in which dancers rise from the earth to protest the moving of graves from villages to open land for real estate development.
Dig Grave Style
Remixing a video is a shortcut to creating original content. The script is partially written – the creativity comes from changing the lyrics and the setting. The popularity of the Harlem Shake meme (which was georemixed around the world, and saw political georemixes in Tunis and Cairo) came in part from the extremely low levels of effort required to participate in the phenomenon – simply film people behaving in an ordinary way, then dancing like madmen in strange costumes and you’ve got your localized Harlem Shake.
“Happy” benefits from this low barrier to entry. There are Happy remixes that function as shot-by-shot remakes of the short, official Pharrell video, and there are vastly more that adopt the spirit of the video and transpose it to a local context.
Loïc Fontaine and Julie Fersing deserve much of the credit for the georemixes that made Pharrell cry, though neither has made a video. Fersing, an interior designer in Nantes, began collecting georemixes of “Happy”, searching YouTube to find new material. When she’d located 21 of the videos, she turned to her husband, Fontaine, who’d begun a career in website development nine months earlier. Together, they launched We Are Happy From, a portal that now hosts 1682 videos from 143 countries.
Once the site had attracted about 50 remixes, Fontaine contacted the We Are From LA production team, who gave the project their blessing. While Fontaine had not spoken to Pharrell when I interviewed him a month ago, he felt quite confident that the project was consistent with the artist’s wishes and would survive, pointing out that Sony had not taken action to remove the vast majority of remix and parody videos posted online. Indeed, the success of the song has likely had a great deal to do with the widespread participation online, giving “Happy” an online life and prominence that no amount of radio payola could provide. (Pharrell has embraced the notion of the georemix, urging people around the world to produce their versions of the video as part of a UN-sponsored International Day of Happiness.)
We Are Happy From is simply an index, pointing to videos hosted on YouTube, Daily Motion and other platforms. While the videos have a consistent look, usually opening with a black on yellow title screen (as Pharrell’s video does), Fontaine doesn’t provide any production help or guidelines. Still, the videomakers are clearly conscious of We Are Happy From’s role in promoting “Happy” videos as a global form, as many videos feature a screencap of the We Are Happy From map.
While anyone can submit a video to We Are Happy From, not all videos appear on the map. Fersing is the curator, and she watches all videos before adding them to the map. (As of April, the couple were receiving 20-40 videos a day.) Videos that are overly commercial or connected to political or social causes don’t make the cut. Fontaine explained that some French political parties produced Happy videos as campaign materials – We Are Happy From chose not to feature those videos. An Italian version of Happy with an environmental message was also not included, nor was Porto (un)Happy, which features activists dancing through unfinished construction sites in Porto Allegre, Brazil, along with subtitles that critique government spending on public works projects. (Manaus is unhappy as well.)
I asked Fontaine why he and his wife had chosen to become active curators of the project. It was a practical decision, Fontaine explained: “They say it’s black, someone else says it’s white. How am I to judge?” Rather than evaluating the validity of political claims, he would rather focus on what he sees as the core message of these remixes: “We Are Happy From is purely about the happiness. We just want to show a simple message about being happy about where we live.”
For me, as a student of civic media, the dissident videos excluded from the We Are Happy Map are the most interesting ones. Fontaine has kindly shared the list of rejected videos with me, and I hope to spend some time this summer watching those 500 remixes in the hopes of developing an understanding of how “Happy” can work as a script for advocacy (or how videomakers think it might act as that script.) But for Fontaine and his wife, the mark of success wasn’t raising awareness for a cause or an issue – it was documenting the spread of happiness globally. When I interviewed Fontaine, he was celebrating the spread of “Happy” to Antarctica, with a video from French research station Dumont d’Urville.
The 1600 videos on We Are Happy From may not advocate for a political party or a cause, but they are “political”. When the residents of Toliara, Madagascar make their version of “Happy”, they’re making a statement that they’re part of the same media environment, part of the same culture, part of the same world as Pharrell’s LA. This assertion isn’t quite as anodyne as Disney’s “Small World After All” or the “I’d Like to Buy the World a Coke” campaign. Even with Fontaine and Fersing’s curation, we get distinct glimpses of how different it can be to be happy in different corners of the world: Happy in Damman, Saudi Arabia features wonderfully goofy men, but not a single woman. Beijing is happy, but profoundly crowded and hazy – intentionally or not, the video is a statement about air pollution as well as about a modern, cosmopolitan city.
A few weeks ago, We Are Happy From added a video from Tehran, Iran to the map. If you don’t know where the video is from, it’s unremarkable. A dozen twenty-somethings, men and women, dance on a rooftop, wear silly outfits, and wave their legs while lying on a bed. It’s remarkable only if you know that women in Iran are forbidden to appear in public without their hair covered and that men and women are prohibited from dancing together in public.
Happy in Tehran
Given context, the video is an incredibly brave statement. The young women in the video covered their own hair with wigs, keeping themselves technically in line with local Islamic law, and kept clothing around so they could cover up if seen from neighboring buildings. One of the videos stars, identified only as Neda, said, “We were really afraid. Whenever somebody looked out of a window or someone passed by, we ducked behind a door to make sure we were not seen.”
The makers of the video, forced to apologize on state television
Neda and her compatriots were right to be afraid. Six people involved with making the video were arrested and forced to appear on state television, testifying that they were tricked and duped into making the video. It is unclear what consequences the filmmakers will suffer beyond public humiliation, and a hashtag, #FreeHappyIranians is emerging to protest their detention. Pharrell, to his credit, has tried to call attention to the situation:
It's beyond sad these kids were arrested for trying to spread happiness http://t.co/XV1VAAJeYI
— Pharrell Williams (@Pharrell) May 21, 2014
It’s clear from Neda’s interview with Iran Wire that the intention behind the video is precisely Fontaine and Fersing’s intention. ““We wanted to tell the world that the Iranian capital is full of lively young people and change the harsh and rough image that the world sees on the news.” They chose a middle-class Tehran home to make the point that ordinary Iranians, not just the elite, were happy, creative, modern and globally engaged. And the video, with subtitles and credits in English, was clearly created for a global audience, designed to be part of the International Day of Happiness, though it was turned in too late for inclusion: “We want to tell the world that Iran is a better place than what they think it is. Despite all the pressures and limitations, young people are joyful and want to make the situation better. They know how to have fun, like the rest of the world.”
Perhaps a video that asserts that you and your friends are part of the wider world is political only if your nation has consciously withdrawn from that world. Perhaps it’s political any time your city, your country and your culture are misunderstood or ignored by the rest of the world. We Are Happy From is cultural politics in the best sense of the word, a good-natured assertion that what brings us together is more important than what divides us. That the Tehran video has led Pharrell to a different type of tears is a reminder of how powerful and threatening this sort of statement can be.
This January, a few hundred employees of Alibaba, the massive online retailer and digital payments company, participated in an interesting experiment. Like many Chinese, they traveled home to celebrate the Lunar New Year. While at home, they used inexpensive water testing kits to sample water in their villages and uploaded their findings via smartphone to an environmental mapping website, Danger Maps. Employees measured water quality in 420 locations across 28 provinces, testing open bodies of water as well as sources of drinking water.
The experiment was a trial run for a much more ambitious rollout, announced this week. Jack Ma, Alibaba’s billionaire founder, announced that water testing kits would be sold through Taobao for between 65-80 yuan ($10-13) and invited the public to join his employees in becoming water quality monitors. Yang Fangyi, one of the managers of the Alibaba Foundation, explained that by mapping areas of poor water quality, the Foundation can work with local environmental authorities and NGOs to work on cleanup plans.
Environmental degradation is one of the most serious problems facing China. A report from the Chinese Academy for Environmental Planning suggests that China lost 3.5% of the nation’s GDP in environmental damages in 2010. Air pollution contributed to 1.2 million deaths in 2010, and journalists have compared Beijing’s air quality (unfavorably) to that in airport smoking lounges and industrial London on the most polluted days of the mid-20th century. Maintaining and improving air and water quality while continuing to rapidly industrialize are huge challenges for the country. Environmental issues are also an area where the Chinese government has been comparatively open about discussing problems and seeking international cooperation; Premier Li Keqiang addressed environmental problems in his address to the National People’s Congress last month, and US organizations that work with China report that it’s far easier to cooperate on environmental issues than on more sensitive issues like human rights or worker safety.
The little blue kit, manufactured by Greenovation Hub, may test China’s openness around environmental advocacy. Inside are tests for ph, Phosphates, Ammonia, Chemical Oxygen Demand (used to indirectly measure organic contaminants in water), and for five heavy metals, including cadmium and zinc. It’s more home chemistry lab than slick, sophisticated sensors – you’ll be dipping litmus paper into a stream and measuring the color that results, then entering the data into your phone if you participate in the project.
It’s unclear how many of Alibaba’s 500 million customers will purchase water quality kits and start uploading data to Danger Maps. Even if only a few participate, the implications could be very interesting. Land use issues are a major civic flashpoint in China. If farmers are able to document damage to the local watershed from a new factory, for instance, it might change the dialog, bringing nascent environmental watchdog organizations and government departments into the debate over land use.
Groups like Public Lab in the US and Safecast in Japan have been using crowdsourcing models to document environmental issues, monitoring water quality and radiation levels. Their work raises questions of whether we want citizens to be cooperative sensors, or citizen scientists. The latter is a high bar to cross – we need citizens not only to collect data but to formulate and test hypotheses. What we gain in exposing participants to the scientific process, we may lose in terms of data quality and believability. Safecast has traded accessibility for accuracy – their bGeigie geiger counter is pretty expensive in kit form, but is a lab-quality instrument, which allows Safecast to use the data collected to engage the Japanese government in dialog about post-Fukushima reconstruction. On the other hand, using a Safecast counter, it’s easy to feel like your job is simply that of a data collector, not someone figuring out the complex puzzle of when towns and villages will be safe to inhabit. (Safecast describes itself as a global sensor network, acknowledging that it’s strength is data collection, not the broader issue of citizen science.)
There’s a balance between accessible sensors, high-quality data and the ability for users to formulate and test hypotheses that crowdsensing projects need to wrestle with going forward – based on some of the results thus far, it seems like the Greenovation kit favors access over accuracy. (I suspect there’s not really that much standing water in China at ph10, despite reports on the map.) But it’s possible that communities affected by industrial pollution might purchase multiple sensors, organize testing plans and oversampling to improve accuracy. They might also look for sources of industrial runoff and test hypotheses about how industrial development is affecting their community. Consider a project from CMU called CATTFish. It’s a water monitor that sits in your toilet tank and measures temperature and conductivity to sense possible changes in groundwater quality. It’s designed for communities concerned about pollution from hydrofracking – with high quality, regularly updated data from multiple homes, a community could have an early warning system for detecting potential ill-effects from oil extraction. (h/t to Heather Craig, who introduced me to the project.)
I think there’s another subtle change we should watch for as well. Environmental crowdsensing is a form of monitorial citizenship, an idea we’ve been discussing a lot lately at Center for Civic Media. John Keane uses the term to describe the non-governmental and civic organizations that act as watchdogs, keeping governments honest and, sometimes, in check. Inspired in part by David Ronfeldt’s work on tribes, institutions, markets and networks, we’ve been looking at ways networked individuals can have similar monitorial power. The work we’re starting with Promise Tracker begins with asking citizens to monitor issues in their communities using mobile phones and will likely expand to asking citizens to use sensors to monitor water and air quality.
In our experiments with Promise Tracker in São Paulo and Belo Horizonte, using mobile phones to document community problems and governmental and community responses to them, we quickly learned that many people don’t just want to collect data – they want to use data to tell stories and to advocate for change. Will citizens become sensors or scientists? Participants or activists? This may also have a lot to do with whether Greenovation Hub wants to build a business model or a movement, and whether a powerful, visible figure like Jack Ma is willing to have Alibaba become the nexus of an emerging environmental movement. That might be more potent and less dangerous than having individual groups organize to address water quality issues on a small scale and face potential backlash from local authorities.
I’m interested in monitorial citizenship because I see monitoring powerful institutions – commercial, governmental and otherwise – as something one can do every day as a citizen. Elections come around every few years and get all the attention, but it’s possible that the real power of citizenship comes from the monitoring that takes place between the elections. In a Chinese context, where power doesn’t come through electoral mechanisms, monitorial citizenship may have even more power – it may be a more genuine, authentic, believable path to political power than others available to most Chinese citizens.
Susan Benesch is one of the leading thinkers on countering hate speech online. She’s a fellow at the Berkman Center this year, and I’m terribly sorry to be missing her talk at Berkman this afternoon. (Instead, I’m watching from home so I can be primary caretaker for my son for a couple of weeks while Rachel gets to travel.) She teaches international human rights at American University and is the founder of the Dangerous Speech Project, which tries to understand the spread of speech that incites people to violence.
Susan’s talk is available online and I’ve tried to blog it remotely while cursing my inability to teleport across the state. The talk is wonderfully titled “Troll Wrastling for Beginners: Data-Driven Methods to Decrease Hatred Online”. Unlike most conventional online wisdom, Benesch believes you should engage with the trolls, in part because it may be the most successful path to countering dangerous speech. The approaches states have taken to dangerous speech – punishment and censorship – don’t work very well, and some evidence suggests that they work even worse online than offline. She suggests the case of Anwar al-Awlaki, who was ultimately killed by a drone strike – despite being punished (via summary execution from a US drone), his online speeches continue to be influential and may have influenced the Boston Marathon bombers. Censoring that speech doesn’t work well in an online environment as it’s likely to move onto other platforms.
So what about “don’t feed the trolls”? Benesch points out that there are several implicit assumption in that advice. We assume that if we ignore a troll, they will stop (which, in turn, tends to assume behavior that’s only on a signal platform.) There’s an assumption that online hate is created by trolls; in the few experiments that look at racist and sexist speech, at least half is produced by non-trolls. We tend to assume that all trolls have the same motivations and that they will respond to the same controls. And finally, we assume that the trolls are the problem – we need to consider effects on the audience.
(Benesch doesn’t define trolls until pressed by the audience and points out that it’s a term she uses with tongue in cheek, most of the time – she acknowledges that different trolls have different motivations. Her goal is to move away from considering trolls as the problem and towards understanding dangerous speech as a broader phenomenon.)
One of the benefits of online speech environments, Benesch posits, is that we can examine the effect of speech on people. In offline environments, it’s very hard to measure what reactions dangerous speech leads to – in online environments, it may be possible to track both responses and effects.
Benesch’s suggestion is that we should approach dangerous speech through counterspeech, in effect, talking back to the trolls and to others. In explaining her logic, she notes that the internet doesn’t create hate speech – in some cases, it may disinhibit us from speaking. But more often, the internet creates an environment where we are aware of speech we otherwise wouldn’t hear. Most of us wouldn’t have been aware of what speech is shared at a KKK meeting, and many of us wouldn’t have heard the sexist jokes that were told in locker rooms. Now speech is crossing between formerly closed communities.
This is a new feature of human life, Benesch suggests, and while it causes a great deal of pain, it’s also an opportunity. We can “toss speech back across those boundaries to see what effect it has.” For the most part, we don’t know what will happen when we expose speech this way, and it’s possible the effects could be very positive. She asks us to consider norm formation in teenagers – most 16 year olds, she argues, have historically developed opinions from a small, homogenous community around them. That’s no longer the case, and it positive opportunity for teens to develop a broader and more nuanced worldview.
Believing in counterspeech means having faith that it’s possible to shift norms in speech communities. Benesch asks “What is the likelihood an American politician will use the N-word in public?” While there’s a constitutionally protected right to use such an offensive term, the probability of a speaker using the term is near zero. Yet, she argues, 60 years ago there were places in the US where you likely could not have been elected without using that word. “People’s behavior shifts dramatically in response to community norms,” she suggests, and as many of 80% of people are likely to follow the norms of speech consistent with a space and a situation, even trolls.
One of Benesch’s case studies for counterspeech comes from Kenya, where dangerous speech was a key component to violence in the wake of 2007’s disputed election. With over a thousand killed and hundreds of thousands displaced, the 2007-8 unrest was one of the ugliest chapters in the nation’s history, and as Kenya prepared for elections in 2013, many Kenyans were worried about inflammatory and dangerous speech online.
Benesch worked with Kenya data scientists at the iHub and the team at Ushahidi to build Umati (from the Swahili word for crowd), which collected reports of online hate speech. What they found was a wave of inflammatory speech from Facebook, and astonishingly little dangerous speech on Twitter. This disparity is not well explained by platform usage – Twitter is extremely popular in Kenya. Instead, it’s explained by counterspeech.
When inflammatory speech was posted on Twitter, prominent Kenyan twitter users (often members of the #KOT, Kenyans on Twitter, community) responded by criticizing the poster, often invoking the need to keep discourse in the country civil and productive. This counterspeech was surprisingly successful – Benesch tells the story of a Twitter user who posted that he would be okay with the disappearance of another ethnic group, and was immediately called out by other Twitter users. Within a few minutes, he had tweeted, “Sorry, guys, what I said wasn’t right and I take it back”.
This isn’t the behavior of a troll, Benesch argues. If the user in question were simply looking for attention, he wouldn’t have backed down when his inflammatory tweets met with spontaneous counterspeech. This online counterspeech is especially important when online speech is magnified by broadcast media, as it is in both Kenya and the US – it’s possible for television and newspapers to magnify not just the hateful speech but the attempts to counteract it.
By studying successful examples of counterspeech, Benesch is trying to develop a taxonomy of counterspeech and determine when and where different forms are most useful. She takes inspiration from examples like that of a young man in the US tweeting angrily about Nina Davuluri being named Miss America. The young man inaccurately and disparagingly referred to Davuluri as “an Arab”, and was immediately countered on Twitter by people who called out his racism. Within a few hours, he’d tweeted something resembling an apology to Davuluri herself.
Benesch wonders, “Can we put together the ideas of counterspeech and the idea of influencing 16 year olds?” It’s not realistic to believe we’re going to change the behavior of hardcore haters, she tells us, but we only need to influence a critical mass of people within a community, not the outliers.
Twitter and Facebook aren’t the only environments for inflammatory speech online – anyone who’s participated in online gaming knows that there’s toxic and hostile speech in online environments. Riot Games was concerned about the speech surrounding their popular game League of Legends and cooperated with academic researchers to understand speech in their game universe. The study found that fully half of the inflammatory messages were coming from users we wouldn’t normally consider to be trolls – they came from people who generally behaved like other game players, but were having a bad day and lashed out in ways that were inflammatory. They also discovered that very small changes in the platform – changes in language used to prompt players, apparently minor changes like font and text color – could improve behavior substantially.
Facebook’s “compassion research” project works on similar ideas, trying to get people to use Facebook in more pro-social ways. When you try to flag content on Facebook as offensive, Facebook first prompts you to engage with the person who offended you, suggesting language to communicate to the other user: “Could you take this down? It hurts my feelings.” As with Riot Games, they’ve found that small prompts can lead to dramatic behavior changes.
Benesch has been using these insights to consider problems of inflammatory speech in Myanmar (a topic I learned a little about in my visit to the country earlier this month.) In Myanmar, Facebook is the dominant internet platform, not just the dominant social media platform – if you search for information in Myanmar, you’re probably searching Facebook. In this environment, a rising tide of highly inflammatory speech inciting Buddhists against Muslims, particularly against the Rohingya people, is especially concerning. Not only does Facebook in Myanmar lead to echo chambers where no one may be willing to challenge inflammatory speech with counterspeech, but some of the mechanisms that work elsewhere may not work in Myanmar.
In a country that’s suffered under a military dictatorship for half a century, the idea of “reporting” people for their speech can be very frightening. Similarly, being encouraged to engage with someone who posted something offensive when you have reason to fear this person, or his friends, might threaten your life, isn’t a workable intervention. Any lessons from Facebook’s compassion research needs to be understood in specific human contexts. Benesch asks how you should respond to offensive speech as a Facebook user in Myanmar: you can like the post, but you can’t unlike it. If you respond in the comments thread, you’re participating in a space where the page owner can eliminate or bury your comment. This points to the challenge of using a private space as a quasi-public space.
We need more research on questions like this, Benesch offers. We need to understand different responses to dangerous speech, from “don’t feed the trolls” to counterspeech, to see what’s effective. We need to understand whether counterspeech that seeks to parody or use humor is more effective than direct confrontation. And we need to understand discourse norms in different communities as what works in one place is unlikely to work in another. Louis Brandeis advised that the remedy for bad speech is more speech. As researchers, we can go further and investigate which speech is a helpful counter to bad speech.
I’ll admit that the topic of Benesch’s research made me uneasy when we first met. I’m enough of a first amendment absolutist that I tend to regard talk of “dangerous speech” as an excuse for government control of speech. I had a great meeting with Benesch just before I went to Myanmar, and was much better prepared for the questions I fielded there than if I hadn’t benefitted from her wisdom. She’s done extensive work understanding what sorts of speech seems to drive people to harm one another, and she’s deeply dedicated to the idea that this speech can be countered more effectively than it could be censored or banned.
The conversation after her talk gave me a sense for just how challenging this work is – it’s tricky to define inflammatory speech, dangerous speech, trolling, etc. What might be a reasonable intervention to counter speech designed to incite people to violence might not be the right intervention to make a game community more inviting. On the other hand, counterspeech may be more important in ensuring that online spaces are open and inviting to women and to people of different races and faiths than they are right now, even if inflammatory speech never descends to the level of provoking violence.
For people interested in learning more about this topic, I’d recommend the links on the Berkman talk page as well as this essay from Cherian George, who was at the same meeting I attended in Myanmar and offered his thoughts on how the country might address its inflammatory speech online. I’m looking forward to learning more from Susan’s work and developing a more nuanced understanding of this complicated topic.
In 2006, American adman Dan Ligon shared a video, “Ha Ha Ha America”, that he’d entered in the Sundance film festival. The video presents itself as an angry and dismissive rant about China’s superiority and America’s inferiority, badly subtitled in Chinglish. I wrote about the film when it came out, troubled by the racism associated with the Chinglish narration, and my fear it would be misread as reality, not satire, by American audiences. The Shanghaiist and some other China-based commentators were similarly troubled, though one Daily Kos reader found it a helpful wakeup call about China’s rise and America’s failure to compete economically.
A story about shooting Ha Ha Ha America, from Ligon’s site.
The film is shot in Wenzhou, and central to its narrative is the idea that Wenzhou, China’s 16th largest city, is likely to surpass New York City in population soon. This requires some blurring of the numbers – the Wenzhou jurisdiction, which includes two satellite cities and six counties, has a population of about 9 million, though only 3 million live in the city proper. New York City has an urban population of over 8 million and 20 million in the broader metropolitan area. Ligon’s comparison is apples to oranges (metropolitan area to urban population), but it’s a provocative idea that a city most Americans had never heard of could rival the population of America’s largest cities.
What interested me about Ligon’s film was the juxtaposition of a narrative about China’s rise with the images of a cityscape that isn’t going to challenge New York City for tourists any time soon. If Ligon’s argument is that size matters, then perhaps discovering that a massive city that reads visually as a somewhat sleepy provincial capital tells us that a future of Chinese megacities is going to look very different from the European/American 20th century. Or perhaps there’s a subtler message that size isn’t everything, and that iconic, aspirational cities occupy another conceptual space entirely.
Ha Ha Ha America, on YouTube
I was thinking about “Ha Ha Ha America” because I realize I don’t have a very clear picture of what Chinese cities look like. I’ve recently been to Guangzhou and Hong Kong, and in the more distant past, to Beijing, but it’s very hard for me to picture what I think Wenzhou would look like.
I’ve been thinking about Chinese cities because my colleague Catherine d’Ignazio is working on a project called Terra Incognita, an online game that tracks your reading about different cities and invites you to explore readings about unfamiliar parts of the world. The project is a reaction, in part, to my writings about homophily and serendipity. By helping you monitor your reading behavior, Terra Incognita can reveal your blind spots, and then help you find ways to explore content from those unknown parts of the world.
Catherine’s current implementation of Terra Incognita uses a browser plugin to track your reading (only on a whitelisted set of news sites) and opens a portal to one of the world’s 1000 largest cities when you open a new tab. Should you read a lot about Europe, you won’t get a page on Berlin, but might get Brazzaville, which could include a piece from my blog about Congolese sapeurs.
That we’re relying on this blog as a source of compelling content designed to help you explore unfamiliar places is an indicator of the main problem with the project: it’s hard to find compelling readings on many of the world’s cities. This problem is especially acute for China. Roughly 40% of the cities on the list Catherine is working from are in mainland China, and it’s not always easy to find English-language readings that introduce what’s exciting or special about a city to an international audience.
A Google search for Wenzhou will, tragically, turn up a lot of documents, due to a horrific train crash outside the city in July 2011. This New Yorker article by Evan Osnos is an excellent overview of the crash and the factor that led to it, but doesn’t tell you much about Wenzhou itself. The Wikipedia page on Wenzhou offers the intriguing hint that the city is legendary for its entrepreneurialism, and is the “birthplace of China’s private economy.” More bluntly, the article notes, “A popular saying calls Wenzhounese the “Jews of the Orient” (东方的犹太人). ”
Exploring this idea, I found Peter Hessler’s article for National Geographic, “China’s Instant Cities”. Hessler explores the growth of Lishui, a rapidly growing manufacturing city 80 kilometers from Wenzhou through the story of Boss Gao, a Wenzhouese entrepreneur who builds a factory to build bra underwires and rings (the wire rings that bra clasps hook into.) It’s a brilliant story, featured in a collection of 2008’s best magazine writing, and it did exactly what I hope Terra Incognita can do: help readers develop an interest in places they knew nothing about. (I’m now using magportal.com, a magazine search engine, to look for other Wenzhou articles, like Stephen Glain’s article in Smithsonian magazine, “A Tale of Two Chinas”, which contrasts entrepreneurial Wenzhou with Shenyang, a former government stronghold now facing hard times.
As I was writing “Rewire”, I had a helpful and long-running argument with David Weinberger, who worried that my hopes of engineering serendipity by tracking what we read, identifying blind spots and making suggestions would be less effective than a much simpler strategy – just read a really good magazine. The promise of Granta, The New Yorker or other elite magazines is simple: it doesn’t matter if you’re interested in the topic, because the writing is so good it will draw you in.
David’s right that quality matters. But I wonder if the magazine format is the key issue. Introducing someone to your community via news stories doesn’t work, as they lack context to understand the news. An encyclopedia article offers background, but no seduction, no reason to read and explore. Magazine articles need to draw you in and to expose you to the unfamiliar, and can’t assume as much context. Part of the success of Terra Incognita may rest on whether we can find these sorts of high quality, low context stories for a thousand cities.
How would you explain your hometown to a foreign visitor in half a dozen weblinks, or less? Wikipedia’s article on Pittsfield, MA includes an article in the Financial Times that generously describes our little city as “The Brooklyn of the Berskhires”, an article on retirement that points out that Pittsfield is the only US city where the majority of retirees are single, and an ESPN piece that details Pittsfield’s tenuous claim to be the birthplace of baseball. (A historian discovered an early reference to baseball in a 1791 Pittsfield bylaw, prohibiting playing the game near the city’s new meetinghouse, which featured glass windows. Pittsfield also features one of only two professional baseball stadiums that faces west, meaning the batter faces the setting sun. This means ballgames in Pittsfield routinely feature “sun delays”, during which play stops because the batter is blinded, leading also to our baseball team being named the Pittsfield Suns.)
Incomplete? Yes. Biased? Indeed. But if you’re interested in learning more either about Wenzhou or Pittsfield, perhaps Catherine is on to something.
Catherine and I would love your help on Terra Incognita – please sign up for the alpha site here, and if you have specific suggestions of stories to represent a city, please use this form. I’d also welcome general thoughts on how we should be looking for great stories linked to global cities.
Engin Onder and Zeynep Tufekci visited the Berkman Center today to talk about the rise of citizen reporting in Turkey. Tufekci is a leading scholar of online media and protest, and Onder is one of the founders of 140journos, an exciting citizen media group that’s been central to documenting Turkey’s protests in Gezi Park and across the nation.
Zeynep Tufekci offers an overview of the press situation in Turkey to provide context for Engin’s work with 140journos. There’s no golden age of press freedom in Turkey to look back to, she warns. After the military coup in 1980, the 1980s were a decade marked by military censorship. In the 1990s, Turkish media suffered from censorship around Kurdish issues, but there were media outlets that took journalism seriously within existing constraints.
In the 2000s, the concentration of power by AKP after their second election led to large conglomerates moving into the media business and buying up the press. Energy companies ended up buying leading newspapers, firing columnists and steering the paper’s editorial direction towards the government… and, coincidently, would win the next major government energy contract. Zeynep describes the situation as “ridiculous”, noting that a multiday clash in the heart of the nation’s biggest city was broadcast by CNN International, while CNN Turk broadcast a document on penguins. Talking to a Turkish journalist about the situation, the journalist explained a layered system of censorship: “First, I censor myself. Then my editor censors me, taking my already soft story and make it softer. And if that’s not still soft enough, the government may call a newspaper or TV station and demand coverage change.” Should an outlet not comply, they face massive tax bills, which mysteriously disappear when the media becomes more compliant.
While the press is heavily constrained, Zeynep tells us, the internet is largely open. Websites have been blocked, but it was very easy to get around censorship using proxies. The blocking of YouTube, she tells us, wasn’t a serious obstacle to viewing content, as even the prime minister admitted he used proxies to access it. Instead, it was a tax strategy, trying to get Google to come to Turkey and pay taxes. That’s changing, however, and the new censorship regime promised is significantly more serious, including deep packet inspection.
Zeynep tells us of the Roboski Massacre, a bombing in the village of Uludere, in Kurdish areas where informal smuggling is part of the local economy. The village was bombed by military jets, killing 34 people. It was unclear whether this was a mistake by the military, or a conscious attack on the Kurdish population.
Every newsroom in the country knew about the story and all waited to hear whether they could publish about it. A Turkish journalist, Serdar Akinan, decided to fly to the area and took a minibus to the village, encountering the massive funeral procession. He took an instagram photo and shared it on Twitter… which broke the media blackout and led everyone to start publishing news of the bombing. Akinan lost his job for this reporting and now works for an independent news organization.
The story of 140journos starts there, Zeynep tells us. Engin Onder introduces himself as a non-journalist from Istanbul, a former passive news consumer before media and news broke down. “We felt so sad about this issue, and thought we can do some stuff.” Onder runs a group of creative professionals called Institute of Public Minds, a group that operates creatively in physical and digital public spaces.
In early 2012, in the wake of the Roboski Massacre, Onder and his colleagues felt compelled to start building their own media systems to address the weaknesses of the professional media. Roboski wasn’t the only trigger – a set of pro-secularism protests in 2007 and a union protest in Ankara in 2009 also received no media coverage.
Akinan’s coverage of the Roboski massacre was the inspiration for Engin and his friends Cem and Safa. All three were heavy Twitter users, and they realized that Twitter and online services might be sufficient infrastructure to report the news, as it was all Akinan needed to break this critical story. They brainstormed names, and settled on 140journos, honoring Twitter’s character limit and using slang to poke fun at the professional status of journalist.
Cem had been kicked out of his house because his politics so sharply diverged from his father’s. His father read and watched only media from one conglomerate, while Cem began reading underground and alternative newspapers – for Cem, 140journos is about “hacking his father”, creating media that could sway his parents. Safa is a conservative and religious guy, who helps counterbalance the team. Engin tells us that he had only attended one rally before starting the project.
Before the Gezi protests, 140journos reported on key court cases using nothing more than a 3G mobile phone. At some point in a key trial, the judge demanded that journalists with press cards leave – the 140journos remained and continued tweeting from their phones. That led to discovery of the network by mainstream journalists (who probably resented 140journos for being able to remain in the courtroom.)
140journos made a point of visiting a wide range of public protests, including conservative protests against fornication. They believed it was important to ensure different groups understood each other and saw the diversity of protest movements.
Media coverage of 140journos had been pretty condescending, focusing on the youth of the participants, not on the quality of their reporting. Zeynep, on the other hand, took their work seriously, declaring “This is not ‘citizen journalism’ – this is ‘journalistic citizenship’.”
Once the Gezi Park protests broke out, 140journos found themselves at the heart of a massive movement in Istanbul. Part of the mantra of the Gezi movement was, “the media is dead – be the media”. This helps explain why, during a moment the police were spraying tear gas on Taksim Park, a protester was holding up an iPad and taking photos. Gezi brought a culture of documentation to Turkish protest movements.
The tools of the trade, Ergin tells us, include Facebook, Twitter, Soundcloud, Vine, Instagram, as well as tools that help mine social media platforms. Tineye, Topsy, Google Image Search helped they find traffic cameras, which were also helpful. Google Maps allowed the team to identify where documentations took place, as did Yandex Panorama (similar to Google Streetview, but with coverage of Turkey.) When they heard the sames of people involved with the protests, they sought them out via Facebook, then scheduled in person or phone interviews. Internally, the team coordinated using WhatsAp.
During the protests, 140journos were tweeting hundreds of times a day. They noted different media usage patterns in different parts of the world. Istanbulis use a wide range of media types. Ankarans favor livestreaming. In Izmir, there was less content produced, more a complaint about what the media wasn’t covering.
When the culture of protest documentation became common, the role for 140journos changed into a practice of curating and verifying, not frontline reporting. They decided they couldn’t participate in the protests, and never physically appeared in the park so they could cover the protests with a level of detachment and neutrality. They may have sympathized with the protesters, but their role was as journalists, not activists.
To explain the working method, Ergin gives us an example from Rize, a conservative town that’s the home of the Prime Minister. A crowd, allegedly armed with knives, gathered in front of the office of a secularist group. Seeking to verify what was going on, they searched online, found a blurry photo of the protesters outside the office and started reading signs on the street. They began calling shops on the street and interviewing witnesses of the standoff. Ironically, one of the businesses nearby was a TV station which, unsurprisingly, was not reporting on the situation. Eventually, they also found a nearby traffic camera, and used a combination of the interviews and the street camera to confirm the story and report on it.
After the Gezi Park protests, Engin argues that the content of citizen journalism has been legitimized, the quality of citizen journalism content has been refined and the value of credibility has been strengthened throughout their network. There’s now a network of citizen journalists aside from 140journos, and 140journos often uses these networks to vet their work. 140journos builds their reporting on lists of citizens they’ve verified live in different Turkish cities – when an event takes place, they lean on those local sources.
In a remarkable twist, Veli Encü, a survivor of the Roboski Massacre, has become a correspondent. When warplanes fly over Uludere, he immediately reports to the network so that people can watch and ensure another massacre doesn’t take place. Cem’s father, who used to isolate himself in conservative media, has now become an activist and a much broader reader. And 140journos is now producing a radio show driven by citizen media, broadcasting once a week, and projecting their work onto the sides of public buildings to attract attention and open dialog with a broad range of participants.
We move into a Q&A, which I opened by asking whether the rise of citizen journalism has shamed Turkish journalists into changing their behavior. Engin is uncertain. He notes that the CEO of CNN Turk underestimates citizen journalism, likely seeing it as providing misinformation and poisoning public discourse. But media workers are starting to work as pirates, with 10 or more professional journalists contributing anonymously with stories they otherwise couldn’t get published. Zeynep suggests that there has been a significant change post-Gezi, with more actual news carried live. 140journos was a catalyst, she argues, but so were marches where people stood outside TV stations, waved money and begged reporters to do their jobs. There’s another cultural shift, both note. Citizens are willing to put themselves at personal risk to capture images from the frontline of protests.
A Berkman fellow asks whether there are any Turkish tools being used to produce this media. For better or worse, Engin explains, the tools used are those of social media, and almost all are hosted in the US, but available for no cost online. Furthermore, the journalism the team is doing is wholly non-commercial – they support themselves through other jobs and engage in their reporting as part of their civic engagement.
In the next few weeks, 140journos is planning to release two new tools. One will use elements of gamification to help increase the practice of verifying and factchecking reporting. The other will provide background detail on locations throughout Turkey on a data-enhanced map, which can be used as a way to provide context and background information on stories the network releases.
Another question asks whether there are any plans to monetize content. Engin is insistent that the priority is building better content, not working on sustainability. Another questioner asks whether coming internet censorship will make it difficult for 140journos to share content. Engin explains that the group has so many friends in the Pirate Party that they won’t have trouble finding VPNs, or helping their readers find VPNs. At the same time, he notes that it’s unclear how these admittedly draconian laws will actually be implemented. Engin notes that his group is non Anonymous (or anonymous) – they strongly believe they are doing nothing illegal, merely reporting the news.
Another question asks whether the Turkish government will begin mining online data to identify protesters. Zeynep explains that this isn’t necessary – every phone in Turkey is registered to an individual’s national ID, and the government has the identity of everyone who has appeared at protests. While there have been occasional arrests of people who tweeted to incite violence, there have not been widespread roundups of people involved with these demonstrations. Engin notes that the government probably cannot shut down the internet in Turkey without collapsing the government entirely.
Zeynep closes the conversation by noting her amazement when she discovered that 140journos was four college students, working in their free time. She draws an analogy to the groups that coordinated logistics during the Tahrir protests, who used social media to build a logistics team, inspired by a local cupcake shop that used Twitter in that fashion. Zeynep suggests that we’re seeing a technological shift that makes certain kinds of mobilization significantly easier than it ever had been before.